For 1,015 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,015 movie reviews
    • 96 Metascore
    • 90 Keith Phipps
    The film uses the cutting edge of technology to take viewers to the far reaches of the human experience, but also to create a sense of empathy, of investing in the life of another person. It’s a remarkably complex film, but an admirably simple one, too.
    • 95 Metascore
    • 91 Keith Phipps
    Zuckerberg's story ends up feeling bigger than his own life.
    • 94 Metascore
    • 100 Keith Phipps
    Unchecked goodness has its price, after all, and childhood wonder wouldn't be nearly as sweet if it didn't fade. That may explain the film's appeal. It trapped that feeling, and its sense of possibility, in amber -- then, now, and for any time.
    • 94 Metascore
    • 90 Keith Phipps
    All in all, it's a fitting conclusion to the series, and yet there are disappointments built in. For one, Jackson has opted not to film Tolkien's downbeat "Scouring Of The Shire" epilogue.
    • 93 Metascore
    • 100 Keith Phipps
    It's Malick's particular genius to make viewers feel like they're seeing the world, with all its beauty and danger, for the first time. [28 Nov. 2007]
    • 92 Metascore
    • 90 Keith Phipps
    Where Barton Fink sometimes resembled a horror movie, Inside Llewyn Davis plays like an elegy. Its conclusions are more regretful than angry, and while the conflict between art and commerce is no less central, there’s much more emphasis on that conflict’s personal toll.
    • 91 Metascore
    • 70 Keith Phipps
    Though Moolaadé doesn't shy away from the task of educating its viewers about the brutality of "purification," it works equally well as a tribute to righteous defiance wherever it surfaces.
    • 91 Metascore
    • 80 Keith Phipps
    Director Zacharias Kunuk captures that feeling well, but he never quite develops it into a theme epic enough to fill Atanarjuat's scope. His film is by turns mesmerizing and trying, with enough of the former to make the latter worthwhile.
    • 91 Metascore
    • 91 Keith Phipps
    Mirren begins the film having her portrait painted, looking every inch the monarch and proud to play the part. By the end, she's let the pressure of one week, and maybe a lifetime, show in her eyes.
    • 91 Metascore
    • 90 Keith Phipps
    There's not a weak performance in Secrets And Lies, a fact made more notable by the seeming ease with which the cast performs as an ensemble.
    • 91 Metascore
    • 100 Keith Phipps
    The ultimate vision here is of a hard world in which civilization is the aberration, and the things we fear are always waiting for an excuse to make life normal again.
    • 90 Metascore
    • 90 Keith Phipps
    Finds the right balance between reverence and wit.
    • 90 Metascore
    • 100 Keith Phipps
    An excellent movie, as effective in battle scenes as it is in that of soldiers ruminating on an Edith Piaf song.
    • 90 Metascore
    • 100 Keith Phipps
    Granik has no taste for noir archness, opting for a chilly, shot-on-decaying-locations naturalism that feels as lived-in as Lawrence's performance.
    • 90 Metascore
    • 100 Keith Phipps
    It's all presented in a detached style that's ultimately much more moving and truthful than any heartstring-slashing weeper. This may be Egoyan's best work yet, and it's surely one of the best films of the year.
    • 90 Metascore
    • 80 Keith Phipps
    What's more impressive, and in the end more important, is the high standard of storytelling that Pixar continues to meet by locating both humor and emotional depth in worlds created out of lines of code.
    • 90 Metascore
    • 75 Keith Phipps
    We all lived through this not so long ago; it's an odd thing to make a film whose most striking effect is its ability to bring the feelings of Sept. 11 flooding back, then close on a profoundly disturbing note. A crasser film would have been easier to digest and dismiss. It's hard to do either with United 93, and that's either its genius or its folly.
    • 90 Metascore
    • 70 Keith Phipps
    The film is unfortunately about little more than its potentially mind-boggling plot and structure.
    • 90 Metascore
    • 70 Keith Phipps
    It’s both unfailingly exciting and overly familiar, a restless but risk-averse film that’s a little too content to borrow from what’s worked before.
    • 89 Metascore
    • 90 Keith Phipps
    An important act of historical preservation, a focused and effective film that brings back a dark, important moment in history with startling clarity.
    • 89 Metascore
    • 70 Keith Phipps
    Choreographed to the last beat, the action scenes have a depth that the film's thinly sketched characters never quite develop.
    • 89 Metascore
    • 80 Keith Phipps
    As specific as the film is to Italy at the turn of the turbulent 1970s, it’s also a film about how power first corrupts, then makes mad those who possess it.
    • 88 Metascore
    • 100 Keith Phipps
    What makes Towers so staggering is the way it brings the full scope of Jackson's adaptation into focus. Without missing a beat in three hours, the film shifts from epic to lyrical and back.
    • 87 Metascore
    • 80 Keith Phipps
    Delivers the goods, if the goods you're in the market for happen to be a clever romance concerning William Shakespeare that's unlikely to cause anyone to reassess their notions of Shakespeare, romance, or enjoyment.
    • 87 Metascore
    • 70 Keith Phipps
    By turning her attention to an underreported chapter in recent history, Kennedy has found a trove rich with unreal imagery and stories of heroism in the face of defeat.
    • 87 Metascore
    • 80 Keith Phipps
    An early shot of two turtles crawling through the classroom establishes the film's deliberate pace, and To Be And To Have benefits from the care.
    • 87 Metascore
    • 90 Keith Phipps
    It’s a classic tale of survival that draws on how movies, in the right hands, can make viewers see the world through others’ eyes, and to feel what keeps them grasping as it threatens to slip away.
    • 87 Metascore
    • 80 Keith Phipps
    It allows Lee to draw out a theme that's been present in his films from the start: the notion that repressed passion does no one any good. In Brokeback Mountain, it turns vibrant men ghostly.
    • 87 Metascore
    • 80 Keith Phipps
    Memorable, deeply affecting movie.
    • 87 Metascore
    • 80 Keith Phipps
    Herzog is still the only person who could have made Grizzly Man. His admiration for Treadwell has its limits, but he understands, better than most directors, what it means to follow dreams into the belly of the beast.

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